Page 24 THE VILLADOM TIMES III • March 20, 2013 New film about Oz was crafted with great care by Dennis Seuling It is hard to find anyone who does not either love, or have great affection for, MGM’s “The Wizard of Oz,” which has been viewed by millions over the years through annual TV broadcasts and home video. That film balanced the adventures of a young girl trying to find her way home with the theme of discovering admirable qualities in oneself. Now, director Sam Raimi, in the Disney feature, “Oz the Great and Powerful,” tells the story of how that “man behind the curtain” got from Kansas to the magical land, in a prequel that takes place well before the arrival of Dorothy. Oscar Diggs (James Franco) is an arrogant magician and full-time con man with the Barnum Brothers Circus. Diggs has an eye for the ladies, and flirts with them all -both single and married. When the angry husband of one of these women seeks out the conjurer with murder in his eyes, Oscar decides it is time to skip town. His mode of transport is a hot air balloon, which soon gets caught in a swirling tornado, nearly killing him, and ultimately sets him down in Oz, where he is immediately taken for a wizard. Learning that a pile of gold awaits this wizard, Oscar draws upon a few tricks and illusions, along with a false charm, to assume the role. All is not beautiful landscapes and quirky inhabitants in this Oz. Three witches work their own magic -- some good and some evil -- to complicate Oscar’s claim to the throne of Oz. Anyone approaching the iconic film with Judy Garland Mila Kunis, James Franco, Michelle Williams, and Rachel Weisz star in ‘Oz the Great and Powerful.’ as Dorothy faces audience expectations, intense scrutiny, and a “show me” attitude. “Oz the Great and Powerful” tells its story in an above-average script with a few bumps along the way. The handsome-looking production shows off its $200 million budget with extensive computer-generated images, dazzling effects, and some new characters, including a diminutive China Doll and a talking winged monkey that befriends Oscar upon his arrival in Oz and becomes his sidekick. Unfortunately, the monkey is voiced by Zach Braff with little distinction. Franco sells his role admirably, particularly the unabashed arrogance that drives the wizard. The character is not typical Disney issue, and is all the more intriguing because of his lecherous and larcenous tendencies. Although many of Franco’s scenes in Oz were filmed against green screen with only markers for eye contact, he comes across with just the right balance of rogue and hero. Michelle Williams as Glinda is far less flamboyant in her manner and attire than Billie Burke was in the MGM picture, but the character still favors a bubble for transportation. Mila Kunis’ Theodora is the most interesting of the Oz folks Oscar meets, and his early attempts to toy with her feelings result in great danger to all of Oz. Evanora (Rachel Weisz) is an evil witch in the style of the Evil Queen in “Snow White” -- beautiful yet deviously wicked. She commands powerful magic that she uses against Oscar’s smoke-and-mirrors trickery. Her relationship with her sister Theodora creates one of the film’s major conflicts. In homage to “The Wizard of Oz,” the first 20 minutes of “Oz...” are black and white, in a square frame. These early scenes are briskly paced and immediately establish Oscar’s shady character. They also look great. The attention to detail is remarkable, and the scenes capture the feel of the early 20th century. Production design in these scenes, though not as eye-popping as for those in Oz, is visually stunning and reminiscent of old-time post cards. As Oscar enters Oz, the picture slowly widens as color drenches the screen, an effect that looks impressive on the big screen in 3D. Lately, too many movies have been exhibited in 3D for no better reason than to generate an extra $5 a ticket. Here, however, the 3D is used intelligently and to great effect. Sure, there are objects flung toward the camera (directors probably can’t help themselves), but the sense of depth works beautifully in the scenes of Oz and its inhabitants and in the climactic battle between the powers of evil and Oscar’s use of elaborate mechanisms to confound and intimidate, rather than kill, the enemies of Oz. Prequels are frequently problematic. They have to live up to audience expectations of established characters and events, offer a new spin on a pre-existing story, and have an identity of their own. “Oz...” succeeds in fulfilling all three tasks. Rated PG, “Oz the Great and Powerful” is a respectful addition to the novels by L. Frank Baum and even that famous 1939 movie. It is put together with great care, contains complex characters, and offers plenty of imaginative visuals.